Exhibition  of 

VENETIAN 
DECORATIVE 
ARTS 

PROMOTED        BY  THE 

"Associazione  per  il  Lavoro" 

UNDER      THE      AUSPICES  OF 

The  Ex^Premier  LUIGI  LUZZATTI  & 
The  ITALIAN  EMBASSY  at  WASHINGTON 

Works  produced  by  Artists  G 
artisans  among  the  Venetian 
refugees  in  the  year  of  the 
great  war,  1918 

A  Beautiful  Collection  of  Antiques 

SILO  ART  GALLERIES 

40  East  45th  St.  Cor.  Vanderbilt  Ave. 

New  York  City  •  Spring  of  1919 


♦ 


I 


1 


inil!Illillilllilllillllaililillliil!llliliii.::U!llli:Jit^ 


Exhibition  of 

VENETIAN 
DECORATIVE 

llllllllllllllllinilllllllllllllllllll'y/^  ^^llnlllllllllllllllllllllllllllllllllll 

PROMOTED  BY  THE 

"Associazione  per  il  Lavoro" 

UNDER       T  H  !         AUSPICES       O  I  - 

The  Ex'Premier  LUIGI  LUZZATTI  & 
The  ITALIAN  EMBASSY  at  WASHINGTON 

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii^^ 

Works  produced  by  Artists  & 
artisans  among  the  Venetian 
refugees  in  the  year  of  the 
great  war,  1918 

A  Beautiful  Collection  of  Antiques 

!ll.lllllllllllllll!lllllllllllllllllllllllll!ll!llllllllll!lllllil1llllllllllllilllllllllillllllin 

SILO  ART  GALLERIES 

40  East  45th  St.  Cor.  Vanderbilt  Ave. 

New  York  City  -  Spring  of  1919 


iniimiiir 


Luigi  Luzzatti,  Minister  of  State,  Ex-Premier  of  Italy,  High 
Commissioner  of  the  Refugees  of  War,  Honorary  President 
of  the  " Associazione  per  il  Lavoro." 


THE  GHTY  CENTER 


<yx.^^^^^  ^^^c7^^^  yy¥'^^>yr^ert^ 


r/te  Venetians,  ivho  suffered  most  in  the  bitter  trial  from 
ivhich  Italy  emerged  splendidly  victorious,  proposed,  with 
this  Exhibition,  promoted  by  the  Associazione  per  il  Lavoro 
di  Venezia,  to  emulate  the  people  of  the  United  States,  who 
are  never  daunted  by  misfortunes. — Luigi  Luzzatti. 


Three 


VENICE 


ENICE,  transfigured,  silent  and  heroic,  full  of  passion  and 
of  faith,  is  born  anew  into  a  grandeur,  worthy  of  her  olden 
days.    Her  people  who,  in  the  dark  scenes  of  the  Tragedy 
of  Europe,  suffered,  hoped,  and  toiled  in  courage  and 
silence,  greet  her  modern  Renaissance. 

In  the  years  before  the  war  Venice  had  been  a  center  of  art  and 
beauty.  Life  slipped  by  easily  and  quietly ;  the  harbor  was  busy  with 
its  thousands  of  workers;  the  trades  and  industries  were  prosperous. 
She  was  the  Mecca  for  all  the  artists  and  lovers  in  the  world.  Every 
other  year,  her  international  Art  Exhibitions  gathered  together  the 
most  striking  works  of  all  modern  artists  and  revealed  the  new  lead- 
ers: Sargent,  Besnard,  Tito,  Frank  Brangwnyn,  Grubjci,  Zorn, 
Zuloaga,  Stuck,  Klimt,  Chini.  The  lesser  arts  were  flourishing;  there 
were  signs,  still  vague  and  scattered,  of  a  new  revival  of  the  industrial 
arts  in  glass,  marble,  w^ood,  iron,  and  mosaic. 

THE  WAR  CAME. 

The  war  came.  The  lights  were  extinguished;  the  lovers  fled.  The 
city  was  suddenly  deserted  by  all  but  its  own  people,  and  stood,  an 
outpost  facing  the  enemy,  in  the  dark.  The  men  who  could  bear  arms 
left  to  join  the  colors;  only  the  old  men,  the  children  and  the  women 
remained.  On  moonlit  nights  the  aeroplanes  came  in  swarms;  in  one 
evening  three  hundred  and  fifty  bombs  were  dropped, — on  Venice, 
so  fragile,  so  delicate,  that  it  almost  seems  as  though  a  sudden  gust 
could  make  her  fall. 

THE  HARD  TIMES. 

Life  there  grew  harder  and  harder.  For  then  that  very  form  of 
commercial  activity  had  ceased,  the  harbor  closed  to  traffic,  all  the 
factories  and  shops  shut,  Venice  found  herself  utterly  without  means 
of  livelihood.    In  August,  1914,  the  people  of  the  city  appealed  to 


Four 


the  Mayor,  Filippo  Grimani,  for  work.  True  to  the  traditional  ex- 
pression which  Sansovino  has  recorded,  "We  are  not  ruled  by  one,  nor 
by  few,  nor  by  many,  but  by  many  good  men,  by  a  few  better  men, 
and  by  one  who  is  best  of  alL"  he  summoned  the  '"better"  citizens  and 
there  was  at  once  organized, — through  generous  subscriptions, — the 
Association  of  Venetian  Industries  (Associazione  per  il  Lavoro  di 
Venezia) .  Giancarlo  Stucky,  the  prominent  manufacturer  and  patron 
of  art;  Gino  Toso,  the  ship-builder;  Vittorio  Friedemberg,  the  grain 
merchant,  were  among  the  first  to  contribute.  Others  joined  in  aiding 
the  project,  including  the  Royal  family.  Commendator  Beppe  Rava 
was  named  President  of  the  new  corporation.  Luigi  Luzzatti,  Secre- 
tary of  State,  accepted  the  honorary  presidency  and  lent  his  influence 
and  aid  to  its  success. 

THE  ASSOCIAZIONE  PER  IL  LAVORO  DI  VENEZIA. 

The  Association  had  no  selfish  thought  of  gain;  its  purpose  was  to 
relieve,  sometimes  by  loans,  but  more  often  by  gifts,  the  industries 
and  crafts  which  had  been  most  seriously  affected  by  the  crisis.  More 
than  half  a  million  lire  were  soon  expended  in  aid  of  the  lesser  in- 
dustries. Thus  it  was  possible  to  begin  again  with  courage  and  faith 
the  occupations  which  had  been  interrupted,  and  this  in  spite  of  the 
brutal  raids  of  the  enemy  on  the  city.  The  Association  opened  shops, 
provided  materials,  took  over  the  finished  products  and  arranged  for 
their  sale  in  behalf  of  and  in  the  interests  of  the  industries.  It  fostered 
especially  the  industrial  arts  and  crafts,  the  small  manufacturers  of 
glass,  mosaics,  furniture,  iron-work,  and  pearls, — those  heirs  of  the 
ancient  traditions  of  Venice,  her  eternal  glory  and  the  riches  of  the 
world. 

AFTER  THE  RETREAT. 

The  dark  days  of  Caporetto  came.  The  Austrians  were  at  Cava- 
Zuccherina,  only  a  few  miles  from  Venice.  Not  by  their  cannon,  but 
by  their  stout  hearts  the  Italian  people  stopped  the  enemy  on  the 


Five 


Piave.  But  life  in  Venice  had  become  impossible.  The  Dream  City 
became  a  stronghold.  Two  hundred  thousand  Venetians  who  still 
remained,  w^ere  forced  to  leave  their  homes  and  seek  refuge  elsewhere 
in  Italy.  The  Italian  people  were  forced  to  provide  a  living  for  these 
poor  refugees  who,  in  a  single  day,  had  lost  all — property,  work, 
home,  family,  all  except  their  faith  in  justice. 

WHAT  THE  "ASSOCIAZIONE"  DID. 

From  this  moment,  the  activity  of  the  Association  in  behalf  of  the 
industrial  arts  of  Venice  assumed  a  larger  and  more  significant  char- 
acter. The  flight  from  Venice  had  scattered  the  humble  artisans  in 
the  several  crafts  all  over  Italy.  The  terrific  struggle  for  a  livelihood 
was  driving  them  into  other  occupations  which, — though  more  menial, 
were  more  lucrative.  The  Association  was  able  to  provide  them  with 
the  means  of  reuniting  and  of  renewing  their  old  occupations  in  the 
cities  in  which  they  had  taken  refuge.  In  spite  of  the  serious  con- 
dition of  the  transportation  system,  in  a  short  time  the  groups  of 
craftsmen  were  brought  together  again,  tools  were  provided  and  a 
supply  of  raw  materials  assured.  Work-shops  were  improvised,  fur- 
naces and  kilns  were  opened  and  looms  set  up. 

THE  VENETIAN  ARTISTS  REASSUME  THEIR  WORK. 

The  Glass-furnace  of  the  Barovier, — blowers  of  exquisite,  artistic 
glass,  that  of  Andrea  Rioda,  master  of  every  form  of  glass  and 
enamel,  that  of  the  Toso  Brothers,  manufacturers  of  chandeliers  and 
murrine,  were  transferred  to  Leghorn  in  Tuscany.  There,  too,  were 
established  the  brocade-velvet  factory  of  Luigi  Bevilacqua  and  the 
furniture  factory  of  Luigi  Bagarotto.  The  American  Red  Cross, — 
whose  noble  service  will  long  be  remembered  in  Italy, — opened  an 
Asylum  for  the  children  of  the  refugees  at  Leghorn.  Umberto  Bel- 
lotto,  forger  of  artistic  iron  work,  moved  to  Pistoia  where  he  gave  an 
exhibition  of  his  work  which  aroused  a  large  interest.  Olga  Asta 
gathered  around  her  in  Florence  the  lace  workers  who  were  scattered 


Six 


over  Tuscany,  and  Maria  Pezze  Pascolato,  a  Venetian  noblewoman, 
and  well-known  writer,  transferred  to  Genoa  the  Municipal  work 
shops  of  Venice,  which  gave  employment  to  thousands  of  women. 
The  mosaic  workers  gathered  at  Pietrasanta  and  at  Rome,  where  the 
Mosaic  workers'  guild  was  already  working  on  the  monument  to 
Victor  Emanuel  II.  Luigi  Toso's  glass  manufactory  was  transferred 
to  Naples,  where  the  manufacture  of  statuettes,  Venetian  ''masks", 
and  modern  vases  is  still  going  on.  The  damask  and  brocade  works 
of  Trapolin  resumed  operations  in  Florence.  In  Florence,  too,  were 
working  a  number  of  artisans  in  wood  and  marble,  under  Florentine 
masters,  joining  to  the  clean-cut,  monumental  Tuscan  style  those 
elements  of  creative  fancy  which  were  their  heritage.  Others  found 
occupation  at  Signa,  at  Borgo  San  Lorenzo  and  in  Liguria. 

THEIR  BEAUTIFUL  PRODUCTIONS. 

The  objects  which  they  created  in  those  hard  days  are  of  manifold 
beauty.  Far  from  the  shining  domes  of  their  Basilica,  the  golden 
reliquary  where  St.  Mark  watched  over  their  city,  the  longing  for 
Venice  kindled  the  spirit  of  these  modest  artisans.  The  glass-workers 
of  Murano,  aided  only  by  their  iron  pipes,  long  as  organ  pipes,  and 
their  traditional  instinct,  blew  their  vases  and  their  magic  galleons; 
the  women  of  Burano,  alone  with  their  grief,  wove  the  hangings  for 
their  lost  altars  and  snow-white  linen  starred  with  flowers;  with  silk 
and  gold  they  conjured  up  the  glorious  stones  of  their  St.  Mark;  the 
rampant  gryphons,  the  bunches  of  grapes,  the  lilies,  the  woven  maze 
of  feathers  and  of  buds,  the  angels  that  come  to  herald  Victory.  The 
wood-workers  carved  in  walnut  old  chairs  like  those  where  their  Doge 
sat  on  days  of  state,  or  saved  old  fragments,  fashioning  them  in  new 
forms,  and  restoring  the  old  pieces  which  had  been  saved  and  brought 
away  in  safety.  The  marble- workers  carved  in  stone  well- tops  and 
Byzantine  fountains.  The  iron-workers  fashioned  lamp-stands  and 
gates  of  grill  and  hammered  out  cups,  lighter  and  more  delicate  than 
those  of  their  brothers,  the  glass-workers. 


Seven 


OUR  EXHIBITION. 

But  events  did  not  bring  these  brave  workers  the  reward  which  their 
courage  and  faith  deserved.  Glass,  furniture,  mosaics,  lace  had  been 
manufactured,  but  conditions  in  Italy  were  not  favorable  for  their 
sale.  The  interest  which  a  sincere  friend  of  Italy,  Mr.  B.  Harvey 
Carrol,  American  Consul  at  Venice,  had  shown  in  the  fate  of  the 
Venetian  Industrial  Arts,  emphasizing  the  demand  for  objects  of 
artistic  merit  among  the  people  of  the  United  States,  suggested  to  us 
the  idea  of  bringing  to  America  for  satisfactory  sale  the  objects  of 
decorative  art  which  the  Venetians  had  produced  during  their  exile. 

The  Association  of  Venetian  Industries  approved  of  our  plan;  Luigi 
Luzzatti  wrote: 

"The  Venetians,  who  have  suffered  most  in  the  bitter  trial  from  which 
Italy  has  emerged  splendidly  victorious,  proposed,  with  this  Exhibi- 
tion, promoted  by  the  Association  of  Venetian  Industries,  to  emulate 
the  Americans  who  are  never  daunted  by  misfortune. 

The  Italian  Ambassador  at  Washington,  Count  Macchi  di  Cellere, 
telegraphed  his  approval  and  support.  It  was  therefore  decided  to 
hold  the  exhibition  in  New  York.  The  Mayor  of  Venice,  Count  Fi- 
lippo  Grimani,  was  kind  enough  to  introduce  it  to  the  Mayor  of  New 
York  with  the  following  letter: 

Venice,  February  20th,  1919. 

"To  his  Honor,  the  Mayor  of  New  York, 
From  the  Mayor  of  Venice,  Italy. 

The  Association  for  Welfare  Work  of  Venice  has  undertaken  to  con- 
duct in  New  York  City,  an  Exhibition  of  Venetian  Decorative  Arts. 
The  purpose  of  the  Association  is  not  only  to  promote  the  commercial 
and  industrial  reconstructions  of  our  region,  which  has  been  so  se- 
verely stricken  by  the  late  war,  but  also  to  make  known  in  foreign 
countries,  and  especially  in  America,  the  most  notable  productions  of 


Eight 


our  local  art.  The  generous  and  hearty  co-operation  which  mighty 
America  has  given  to  the  fierce  struggle  in  defence  of  civilization  and 
humanity,  the  intimate  and  friendly  collaboration  in  arms  of  our 
brothers  with  the  sons  of  free  America  can  and  must  continue  on  the 
field  of  economic  and  industrial  reconstructions  which  fires,  with  great 
tenacity  of  purpose  and  strength  of  will,  our  industrious  Venetian 
population. 

The  Exhibition,  which  will  soon  be  opened  in  this  great  Metropolis, 
of  which  Your  Honor  is  Mayor,  will  constitute  a  collection  of  the  most 
notable  and  praiseworthy  products  of  the  industries  of  our  region.  It 
will  represent  the  mighty  effort  which  has  been  so  happily  successful, 
in  spite  of  the  difficulties  presented  by  the  too  well-known  vicissitudes 
of  war,  and  is  a  confirmation  of  the  spirit  of  our  people,  who,  although 
they  were  forced  by  the  Austrian  invasion  to  seek  shelter  far  from 
their  own  soil,  succeeded  in  accomplishing  so  much. 
In  my  capacity  as  Mayor  of  Venice  I  have  the  honor  and  the  pleasure 
to  commend  the  undertaking  of  our  Association  to  Your  Honor, 
who  is  so  able  a  representative  of  the  noble  city  which  graciously 
assents  to  foster  the  Exhibition  of  Venetian  Decorative  Arts,  and  I 
am  confident  that  in  Your  Honor  I  shall  find  a  most  interested  col- 
league. 

Messrs.  Angelo  Menocci  and  Ilario  Neri  are  the  delegates  of  the  As- 
sociation— Associazione  per  il  Lavoro  di  Venezia — for  the  Exhibition. 
With  the  most  respectful  consideration, 

Signed:  Filippo  Grimani, 

Mayor  of  Venice." 

And  the  Guilds  of  Venice,  as  a  sign  of  their  confidence  and  gratitude, 
have  sent  to  the  City  of  New  York  the  glorious  banner  of  St.  Mark  in 
a  coffer  of  iron,  silver,  and  enamel,  a  fitting  homage  from  the  oldest 
Republic  in  the  world,  that  for  more  than  thirteen  hundred  years  was 
famed.  Mistress  of  the  East  and  Queen  of  the  Sea,  to  the  great  Repub- 
lic of  America. 


Nine 


THE  EXHIBITION  UNDER  THE  SUPERVISION  OF  THE  GEN- 
ERAL DIRECTOR  OF  FINE  ARTS  AND  ANTIQUES  IN  ITALY. 

In  view  of  its  local  character,  the  Exhibition  naturally  cannot  give  a 
complete  idea  of  the  creative  possibilities  of  all  Italy.  The  difficult 
conditions  limited  production.  But  all  the  objects  brought 
have  been  selected  with  the  greatest  care  and  nothing  has  been  in- 
cluded which  is  not  of  the  first  quality.  In  colored  embroideries,  in 
mosaic,  in  stone,  in  iron  and  furniture,  new  forms  have  been  at- 
tempted with  satisfying  results.  Corrado  Ricci,  General  Director  of 
Fine  Arts  and  Antiquities  in  Italy,  insisted  that  nothing  common- 
place nor  trite  should  be  exhibited,  and  agreed  that,  after  the  bad 
taste  and  lack  of  artistic  feeling  which  had  been  prevalent  in  Italy  and 
everywhere  since  the  Empire,  a  selection  such  as  this  was  the  first 
evidence  of  a  new  period,  and  wrote  us — approving  our  undertaking. 
The  Exhibition  will  appeal  to  the  American  people,  not  merely  be- 
cause of  their  sympathy  for  those  who  have  suffered  most  from  the 
war,  but  also  because  it  will  satisfy  in  every  respect  their  impulse  for 
beauty. 

THE  RENAISSANCE  OF  THE  ARTS. 

Even  more  than  the  great  works  of  pure  art — the  painting,  the  lyric, 
the  statue — the  creations  of  solitary,  exceptional  spirits,  the  daily 
productions  of  those  unknown  craftsmen,  the  amphora,  light  as  a 
breath,  the  furniture  inspired  by  architectural  instincts  worthy  of 
expression  in  stone,  the  iron,  wrought  into  a  flower. — these  creations 
are  a  striking  evidence  that  the  Italians  of  today  are  in  no  way  dif- 
ferent from  the  Italians  who  were  great  in  the  past.  They  are  still 
there,  in  their  work-rooms  and  their  shops,  waiting,  gifted  with  in- 
finite possibility,  fully  awakened  from  the  stupor  into  which  the 
long  years  of  foreign  dominations  and  of  slavery  had  thrown  them, 
free  at  last  and  ready  to  prove  once  more  with  masterly  works  that 
they  are  still  the  greatest  creators  of  beauty  the  world  has  ever  known. 


Ten 


A  view  of  the  Venetian  Municipal  Work  Rooms.  The  Women 
of  Venice,  while  their  men  fought  at  the  front  for  the  defense 
of  their  glorious  city  ivith  courage  and  hope,  embroidered 
starry  linens  and  laces. 


Eleven 


Scene  on  the  Piazza  San  Marco.  This  painting,  depicting  mas- 
queraders  in  the  historic  plaza,  represents  a  revival  after 
many  years  of  tvar  of  the  old  Venetian  life. 


Tivelve 


Postierla  of  ivr ought  iron  made  by  Alberto  Calligaris  of 
Udine.  This  magnificent  ivork  of  Art,  where  the  iron  and 
the  enamels  play  wonderful  effects,  was  at  the  outbreak  of 
the  Austrian  invasion  concealed  in  a  cellar,  and  after  the 
victorious  advance  of  the  Italians,  it  was  unearthed.  Some 
other  valuable  ivorks  of  Calligaris  were  decorated  and  trans- 
ported to  the  Imperial  Palace  at  Vienna. 


Thirteen 


After  the  long  lapse  in  the  manufacture  of  tapestries 
these  new  and  modern  forms  should  be  especially  accept- 
able. These  tapestries  are  embroidered  by  hand  by  the 
women  of  Murano,  from  the  drawing  of  the  Venetian 
artist  Zecchin. 


Fourteen 


Venetian  Chinese  Secretaire 


As  the  art  of  tapestry  and  the  art  of  Mosaic,  on  account  of  their 
close  imitation  of  painting,  lose  themselves  through  banal  and  trite 
expressions,  the  great  decorator  of  Venice,  Galileo  Chini,  made 
this  draiving  for  a  fountain  where  the  whiteness  of  marble,  the 
play  of  water,  and  the  splendor  of  the  Mosaics,  unite  a  magnifi- 
cent symphony  of  color.  The  Exposition  shows  how  the  Vene- 
tian artists  have  interpreted  the  design  of  Chini.  Sixteen 


JSow  that  the  marionettes,  deserted  by  the  boys  who 
prefer  the  rifle  and  the  aeroplane,  are  again  in 
favor  in  the  fashionable  salons,  this  little  theatre, 
painted  in  an  hour  of  amusement,  by  a  great  painter 
represented  at  the  Ufizi  Gallery,  will  certainly  be 
dear  to  the  heart  of  some  very  young  lady,  contem- 
porary of  the  Louis  XV. 


While  the  men  ivr ought  in  steel,  the  women  sighed  and 
ivorked  ivith  their  needles.  This  embroidery  and  many 
more  that  we  exhibit  ivere  fashioned  under  the  loving 
supervision  of  Donna  Luisa  Marinoni,  during  the  months 
of  the  terrible  bombardment,  in  the  great  hall  of  the 
glorious  theatre  "La  Fenice,"  which  was  transformed 
into  the  headquarters  of  ''The  Municipal  Committee  of 
Assistance  in  Venice.'' 


Eighteen 


In  this  furniture,  carved  ivith  such  care,  does  one  not 
remember  the  Gothic  feeling  of  the  lines  of  the  Ca  d' 
Oro?    It  was  made  by  refugees  in  Tuscany, 


Nineteen 


This  is  an  example,  fanciful  and  charming,  of  the 
lacquered  furniture.  The  connoisseur  will  here  find 
all  the  grace  of  the  Venetian  work  of  the  17th  century; 
even  those  cracks  which  time  gives  to  the  old  paint- 
ings. 


Twenty 


This  fountain,  a  masterpiece  of 
Prof.  Achille  Taniburlini,  of  Ven- 
ice, had  the  honor  of  decorating  the 
walls  of  one  of  the  rooms  at  the 
International  Exposition  of  Art  in 
Venice.  Pure  and  perfect  revival 
of  Byzantine  Art  in  rare  marbles. 

Tiventy-one 


Room  of  Juliet  and  Romeo.  This  apartment,  with 
its  ceiling  shaped  like  a  keel  of  a  ship,  with  its  walls 
of  tiles,  and  the  Gothic  pancali,  recalls  a  Venetian 
room  of  the  15th  century.  Instead  of  the  ordi- 
nary scenes  of  court  life,  which  generally  decorate 
the  walls  of  that  epoch,  the  room,  is  ornamented 
with  motives  representing  the  romantic  history  of 
Romeo  and  Juliet.  This  room  was  designed  by 
Prof.  Giuseppe  Gerola;  the  celebrated  painter 
Miolato  painted  the  panels;  the  artist  Scattolono 
superintended  the  execution  in  ivood.  The  room 
ivas  shown  at  the  Exposition  at  Rome  in  1911, 
where  it  awakened  the  interest  and  admiration  of 
all  visitors. 

Twenty-tivo 


Secretaire  of  the  l^lh  century,  Venetian,  dec- 
orated with  painted  and  embossed  figures  of 
a  most  beautiful  form  and  good  condition. 
A  rare  example  of  the  period. 


Carved  Walnut  Secretaire.  The  construc- 
tive instincts  of  the  Venetians  which  gave 
palaces  strength  enough  to  withstand  the 
poiver  of  the  water  and  delicate  as  a  Burano 
lace,  have  given  to  their  interior  furniture 
an  architectural  quality  tempered  with  an 
exquisite  sense  of  decoration  and  coloring. 

Twenty-jour 


Many  women  worked  on  this  for  more  than  six  months.  It  is 
embroidered  entirely  by  hand  in  point  Burano  ivith  exquisite 
delicacy  and  is  the  most  beautiful  work  of  its  kind  that  has 
been  made  in  Venice  for  many  years. 


Tiventy-five 


A  piece  of  furniture  with  a  bas-relief  so  minute 
as  to  seem  like  a  picture.  Lorenzo  Ghiberti 
would  not  desire  greater  praise  for  the  bas- 
reliefs  of  his  doors. 


Twenty-six 


\ 


A  characteristically  beautiful  piece  of 
Venetian  furniture  of  the  period  of 
Louis  XV,  inlaid  with  colored  woods  and 
ivory. 


Twenty-eight 


1 


A  garden  f  ountain  in  Mosaic.  Upon  a  base  of  Jasper  the 
bronze  cupid  supported  by  a  glass  globe,  from  which  flows 
a  stream  of  water  into  the  basin.  A  beautiful  work  which  rep- 
resents a  strong  trend  toivard  a  neiv  form  of  decorative  art. 


Twenty-nine 


A  beautiful  Venetian  beaded  bag,  rich  as  a  tapestry  and  soft 
as  a  silk. 


Thirty 


The  coffer  of  ivrought  iron  and  silver  bearing  the  coats  of 
arms  of  all  the  Venetian  towns,  offered  by  the  Venetian 
artisans  to  the  City  of  New  York. 


Thirty-one 


GETTY  CENTER  LIBRARY 


THE  STIRLING  PRESS 
NEW  YORK 


